Doug TenNapel – Spotting Blacks
December 15, 2012
Now that we’ve got this two page spread penciled (see pencil post: https://tennapel.wordpress.com/2012/12/08/doug-tennapel-penciling/), it’s time to go to the inking.
I have a concern before inking every page and it’s that the page will come off all chopped up with separate bits of black all over the place that don’t make the page look good as a whole. My way to address that is by spotting blacks. What is spotting blacks? It’s blasting in large chunks of black ink to hold the page down. I’ll look for any large section I can make black. Shadows are your friend when spotting blacks. They hold the character or object down on the paper and make it look solid.
Here’s my tools… a bunch of cheap, junky, Japanese horse-hair brushes:
Here’s the page after I finished spotting my blacks. I blotched in a bunch of trees, then hit the left side of every mountain, building and tree. This automatically sets the light source to the upper right so the volume of every shape will subconsciously register with the viewer:
This is a detail that shows how much fun I’m having with those horse hair brushes. Every artist is tempted to go straight in to detail, and that can be a bad tactic. But when people see the page, they’ll wonder how you were so bold with your inks. This is where the drama on the page comes from. Drama doesn’t come from the amazing detail, that’s where the finesse and secondary reads come into play.
More detail. You’ll notice a lot of trees and buildings are not hit with a shadow. If I treat every object with an equal shadow, it may be more accurate, but it’s bad for creating a focal point. Not all objects are equal in the arts. Some things aren’t useful to draw the eye across the page so to punch them up is a disservice to story telling. By treating things unequally, the reader will naturally read them unequally. It makes the story easier to read with clarity.
I could go into these buildings a put a HUGE core shadow down the left side of the entire structure. That might even be accurate. I mean, there are huge mountains here that I just outlined with a single line. I blasted in those big core shadows on GEAR and it starts to make a cartoon, light, fun world look like a heavy, dark, film noir atmosphere. This is where genre starts to dictate how you might render one story over another. Stories by Frank Miller or Mike Mignola are darker and justify heavy shadows, but a lighter fairy tale like Bone or Chicken Hare wouldn’t have these heavy noir shadows in a scene full of daylight.